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A Portrait of the Artist as a Young Man (Enriched Classics) by James Joyce

By James Joyce

The portrayal of Stephen Dedalus's Dublin adolescence and early life, his quest for identification via artwork and his sluggish emancipation from the claims of relatives, faith and eire itself, can also be an indirect self-portrait of the younger James Joyce and a common testomony to the artist's 'eternal imagination'.

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White, mulatto, and negro boys and girls were always there waiting their turns, resting, trading playthings, quarreling, fighting, skylarking. And he remembered that although the pump was only a hundred and fifty yards off, Jim never got back with a bucket of water under an hour–– and even then somebody generally had to go after him. ” Jim shook his head and said: “Can’t, Mars Tom. Ole missis, she tole me I got to go an’ git dis water an’ not stop foolin’ roun’ wid anybody. ” “Oh, never you mind what she said, Jim.

He remembered that there was company at the pump. White, mulatto, and negro boys and girls were always there waiting their turns, resting, trading playthings, quarreling, fighting, skylarking. And he remembered that although the pump was only a hundred and fifty yards off, Jim never got back with a bucket of water under an hour–– and even then somebody generally had to go after him. ” Jim shook his head and said: “Can’t, Mars Tom. Ole missis, she tole me I got to go an’ git dis water an’ not stop foolin’ roun’ wid anybody.

Twichell, gathering experiences for his next travel narrative, A Tramp Abroad (1879). Seeking to reach a more genteel audience, Twain writes his first medieval tale, The Prince and the Pauper, tested on his daughters for its appeal. As in The Gilded Age, Twain reveals a social consciousness, albeit one aroused by the enormities of the feudal, not the capitalistic system. Encouraged to expand Old Times on the Mississippi, Twain returns to the river of his youth, a trip taken with his publisher so as to draw comparisons between ‘Old Times’ and new.

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